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The Civil War redefined America and forever changed American art. Its grim reality, captured through the new medium of photography, was laid bare. American artists could not approach the conflict with the conventions of European history painting, which glamorized the hero on the battlefield. Instead, many artists found ways to weave the war into works of art that considered the human narrative—the daily experiences of soldiers, slaves, and families left behind. Artists and writers wrestled with the ambiguity and anxiety of the Civil War and used landscape imagery to give voice to their misgivings as well as their hopes for themselves and the nation.
This important book looks at the range of artwork created before, during, and following the war, in the years between 1852 and 1877. Author Eleanor Jones Harvey surveys paintings made by some of America's finest artists, including Frederic Church, Sanford Gifford, Winslow Homer, and Eastman Johnson, and photographs taken by George Barnard, Alexander Gardner, and Timothy H. O'Sullivan.
Harvey examines American landscape and genre painting and the new medium of photography to understand both how artists made sense of the war and how they portrayed what was a deeply painful, complex period in American history. Enriched by firsthand accounts of the war by soldiers, former slaves, abolitionists, and statesmen, Harvey's research demonstrates how these artists used painting and photography to reshape American culture. Alongside the artworks, period voices (notably those of Emily Dickinson, Mark Twain, and Walt Whitman) amplify the anxiety and dilemmas of wartime America.
- Sales Rank: #817599 in Books
- Brand: Brand: Yale University Press
- Published on: 2012-12-03
- Original language: English
- Number of items: 1
- Dimensions: 12.80" h x 1.42" w x 10.31" l, 5.72 pounds
- Binding: Hardcover
- 352 pages
Features
- Used Book in Good Condition
Review
“The Civil War and American Art is a scholarly and a narrative achievement both harrowing and sublime. Eleanor Jones Harvey has written a keenly critical and often lyrical assessment of the war she calls all but “unpaintable.” In genre painting that captured universal meanings out of local episodes in the ugly ironies of war, and especially in the new moods, metaphors, and forms that landscape painters drew from the war, Harvey demonstrates a profound, seismic influence of history on art. But she also brilliantly demonstrates that artists, even the photographers, could not so much re-make the actual history of our Armageddon as they could represent what we might indirectly see or learn from such a withering and mythic experience as modern war.”--David W. Blight, Yale University, author of Race and Reunion: The Civil War in American Memory (David W. Blight 2012-11-19)
“Eleanor Jones Harvey’s The Civil War and American Art is the rare book that connects the dots between art and history so well that the reader assumes that the subject is well-worn. It is not. The book…deserves to win awards in two disciplines: Art history and American history.…"—Tyler Green, Modern Art Notes (Tyler Green Modern Art Notes)
“A great art history tour and coffee-table topper.”—Garden & Gun (Garden & Gun)
“Provocative and insightful.”—Stephen May, Antiques and the Arts Weekly (Stephen May Antiques and the Arts Weekly)
"The latest from Harvey. . . provides a nuanced, sensitive, and deeply informed accounting of a major period in the history of American art. . . . The comprehensive study manages to remain engaging across its redolent academic and historical interests, creating a sincere excitement appropriate to Harvey's always insightful and vital reckoning with America's scarred past.”—Publishers Weekly, starred review (Publishers Weekly)
Winner in the Photography/Art category at the 2013 Great Southeast Book Festival. (Great Southeast Festival JM Northern Media LLC 2013-03-13)
"The Civil War and American Art is a glorious companion piece to a moving, beautifully curated, perspective-altering show. . . . Harvey’s book is perfect for lovers of American art and history.” —PopMatters (PopMatters)
“Harvey skillfully integrates literature and journalism into a thoughtful and rich narrative of this pivotal period. An important cohesive assessment for scholars that is also broadly accessible and well-illustrated…”—Library Journal, starred review (Library Journal)
“a beautiful companion volume…”—The Nation (The Nation)
“Harvey’s catalogue text stands as a monumental, often thrilling feat of detailed scholarship”—Peter Schjeldahl, The New Yorker
(Peter Schjeldahl The New Yorker)
“One of the great publishing triumphs of the Civil War Sesquicentennial.”—North Carolina Historical Review (North Carolina Historical Review)
Selected as a Choice Outstanding Academic Title for 2013 in the Art & Architecture Category. (Outstanding Academic Title Choice 2014-01-21)
From the Author
“In landscape paintings during the Civil War years, the skies and geography told a version of the story, bringing together literary metaphor and visual imagery to create a war-inflected layer of meaning. When we consider the literature, speeches, sermons, and letters that invoked stormy weather, volcanic eruptions, and celestial portents to understand the war and all its profound consequences, that imagery gains depth and the paintings’ meaning becomes clearer. Landscape painting thus became the emotional barometer of the mood of the nation.”—Eleanor Harvey
About the Author
Eleanor Jones Harvey is senior curator at the Smithsonian American Art Museum. Her books include The Voyage of the Icebergs: Frederic Church's Arctic Masterpiece (Yale) and The Painted Sketch: American Impressions from Nature, 1830–1880.
Most helpful customer reviews
26 of 26 people found the following review helpful.
"A powerful layer of meaning inflected by the Civil War"
By Michael J. Ettner
If you decide to buy THE CIVIL WAR AND AMERICAN ART as a gift for some lucky person, be prepared to receive effusive thanks for a thoughtful and beautiful gift. If you are thinking of it as a gift to yourself, that too will bring long-lasting rewards. The book is of such quality it should appeal beyond the camps of Civil War buffs and lovers of American Art.
What impresses most is how successfully all elements of the book converge.
First and foremost is the text. Eleanor Jones Harvey's thesis is a simple one: "The Civil War had a profound and lasting impact on American Art, as it did on American culture. Both genre painting and landscape painting were fundamentally altered by the war and its aftermath." As well, she demonstrates how photography--the third of her areas of interest--was newly empowered as an art form.
Harvey's writing occupies pages 1 through 241 of this large book. Each generous page measures 12 1/2 by 9 15/16 inches, allowing double-column formatting of the text. The prose is wonderfully clear, a pleasure to dip into, blessedly free of academic jargon and devoid of esoteric pleading. Harvey conveys a mountain of essential facts and observations without halting the forward momentum of her narrative and argument. This is no mean feat. She uncovers layers of meaning within 77 paintings and photographs of the era. Among the works closely analyzed are thirteen Civil War related paintings by Winslow Homer, an artist who will grow larger in your estimation thanks to the findings of Harvey's eye and mind.
Additional documentation includes a section of Notes (32 pages); a Bibliography of over 300 sources and references (20 pages); a Catalog listing the 77 works featured in the Exhibition currently on view at the Smithsonian American Art Museum in Washington, DC, through April, 2013 (the show will travel to the Metropolitan Museum of Art in NYC, May-September, 2013); and a list of the 123 Figure Illustrations found throughout this well designed book. A helpful Index rounds out the volume. Overall the illustrations of works of art are of fine quality, yet, unavoidably, they are imperfect substitutes for the originals. The reproductions of the paintings cannot convey the overwhelming beauty of the luminous landscapes of Frederick Church, Albert Bierstadt and Sanford Gifford. The genre paintings, even when reproduced in full-page spreads, cannot reveal all the small but important details the artist included. Missing too is the emotional pull of actual vintage albumin prints on the walls of the exhibition. All of which is to say something obvious: If you can, please try to get yourself to one of the two museum venues -- there to enjoy a complete experience.
THE CIVIL WAR AND AMERICAN ART is co-published by the Smithsonian American Art Museum and Yale University Press. It is printed and bound by Artegrafica in Verona, Italy. If you want a sense of the superb production values applied to the making of the book, please see the photographs I've uploaded to the "Customer Images" section found in the upper left corner of this webpage.
Note: Only the hardcover is available for purchase here on Amazon. A softcover version, identical in every way to the hardcover except for the binding, is available at the bookstores at the Smithsonian American Art Museum and the Metropolitan Museum of Art, and also from each museum's online bookstores (Google: SAAM Bookstore or MetMuseum store) at a $45.00 list price. That's more than Amazon's hardcover price; with a museum membership discount, it's about the same.
5 of 5 people found the following review helpful.
The chapter titled "The Human Face of War" tells it all.
By With Brush in Hand
This beautiful book is for artists, Civil War buffs and historians. The photography is outstanding. The paintings by Homer, Church, Gifford, Chapman, I could go on and on, bring a much deeper meaning than photos could ever do. This book is filled with human emotion and been compiled brilliantly by Eleanor Jones Harvey. I highly, highly recommend this book.
3 of 3 people found the following review helpful.
Fantastic and Refreshing
By S. CUSTOMER
As a Civil War aficionado, one tends to find much of the same information in many books. The Civil War and American Art deals with many popular Civil War topics but does so from so refreshing an angle that even the most devoted Civil War reader will learn something new. Art is a reflection of society and this book reflects an honesty from a society so deeply ingrained in modern imagination that many people ignore what the society, itself created.
Harvey seamlessly melds the art into the context of the day using excerpts from literature and first person accounts. The book does not only cover the war years but also includes the years leading to war as well as the decade after to place Civil War era art into its proper context.
Harvey discusses well-known symbolism in pre-Civil War and Civil War literature and art such as the use of comets and meteors at the start of the war. Shortly before the war, a meteor was seen by many from New York to Delaware. Many took it as an omen that John Brown, the radical abolitionist known as the “Meteor of War’s” prediction was coming true. On the gallows for his organization of a slave uprising, he wrote a note stating, “I, John Brown, am now quite certain that the crimes of this guilty land will never be purged away but with blood.” It was striking symbolism used by artists and writers at the time who felt that their lives were about to change.
Not excluding photography, Harvey introduces the rather unprecedented work of famous wartime photographers such as Mathew Brady, Alexander Gardner, Timothy O’Sullivan and George S. Cook giving an in-depth look into the medium of photography as it was. In a time when almost everyone has a camera in their pocket, it is difficult to imagine just how shocking the images of war were to the people of the 1860s. From only ever seeing paintings and etchings of gallant soldiers fighting artistic battles to the sudden shift of seeing lifeless, mangled bodies piled like meat really brought the true cost of war home to people.
This book is a very interesting read with stunning photographs. It gives a very in-depth look into the art and literature of the time, allowing the reader a better-rounded view on the culture of the people that created it.
Disclosure: I received a copy of this book for reviewing purposes but that in no way affected the content of my review.
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